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From the Collection: “Crawfish Lady” (c2000) by Wellington Bridgewater

22 May 2018 Archive

By Natalie Willis

What does Bahamian fantasy and myth look like? What magic or horror happens when the divides between animal and human seem to dissolve? What then must Wellington Bridgewater have been thinking when he made the “Crawfish Woman” (c2000) who lies on the Southern steps of the NAGB’s Villa Doyle. Was he thinking that this lobster-lady was like the nefarious lusca, sucking water in and out of blue holes to capture unlucky divers and boats with the power of the oceans. Or was she more like the chickcharney, a generally benign beast who, once wronged, would cause you harm.

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Feature From The Exhibition: Northeast Gallery 2

17 January 2013 Archive

The triptych by Susan Moir Mackay, Anthropology 2012: Human, System, Object breaks the reality of human life into these three specific categories. It examines the relationship between people, their social networks and the apparatus of everyday routines. Mackay’s work offers a means of location and charting the diversity of society through a kind of modern excavation that reveals the symbols of collection preoccupations that ultimately obstructs us from a much meaningful existence.

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Feature From The Exhibition: Northeast Gallery

3 January 2013 Archive

This gallery delves into the sub-theme of balance, which in matter of Kingdom Come itself is tied to spirituality; be it societal, individual or the lack thereof. Finding Balance, Tyrone Ferguson’s aluminum sculpture distinctly focuses on this theme. The balancing of a white disc and a black disc shows the constant point of equilibrium that we all try to find in our lives on a daily basis, and seeing that the figure is on a tight rope this stability is reiterated with other things that may be occurring in the world/society, that we walk the tight rope in hopes to survive.

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Feature From The Exhibition: The Ballroom

20 December 2012 Archive

How do you rise above life’s dramatic changes and transitions with a smile on your face or a shred of hope? Some suggest that we don’t rise above them at all but instead move with these changes, these minor and major apocalypses. Joseph Campbell philosophizes that we have to dive into the fire to find our treasure. Many of the artists in this space have dived into an abyss of some kind. Whether it be the exposure of Bahamian societal issues in Kishan Munroe’s “Beacon of Hope”, physical and emotional turmoil in Kendra Frorup’s installations “Duran Duran” and “A Constant Internal Smile” or Dede Brown’s study of rebirth in her installation “Chaos is the law of nature; Order is the dream of man”, on the most basic level these works speak to our natural human instinct for persistent survival in the midst of change.

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